If you hold material nobody has ever licensed, start here.
This is the half of the business that has to work first. We fund the rights clearance and the preparation, you keep title to your material, and you are paid out of what it earns. Nothing up front, no exclusivity by default, and a written no rather than a slow silence if we cannot clear it.
How it works
- 01
- Who we take material from
- Radio and television stations, podcast networks, film and documentary producers, event and commercial videographers, publishers and printers, professional firms, estate agencies and surveyors, institutions holding financial records, and individuals who filmed their own working life. If you hold material and have never licensed it to anybody, you are the counterparty this company was built around.
- 02
- What we do that a holder cannot do alone
- Reconstruct chain of title per asset. Draft an instrument a laboratory's counsel will accept. Digitise and normalise to one technical standard. Clean it, annotate it to a buyer's schema, and carry the warranty when it ships. Almost nobody sitting on an archive can do the second or the sixth, and those two are what decide whether material is sellable at all rather than merely valuable.
- 03
- What it costs you
- Nothing up front, and no exclusivity by default. We fund the clearance and the preparation. You keep title — we license, we do not buy out — and you are paid, either as a fee against the tranche or as a share of what it earns, written into the instrument rather than promised in a meeting.
- 04
- What we need from you first
- A description of what you hold, roughly how much there is, what condition it is in, and whether anyone else has a claim on any of it. That is a conversation, not a form. Chain of title comes after, and it is where most of the work turns out to sit.
What actually happens
Four to eight weeks from first conversation to delivered, cleared material — most of it rights audit rather than handling. Everything after the first tranche moves considerably faster, because the instrument and the schema are already written and only the assets change.
- 01
You tell us what you hold
Roughly what it is, roughly how much, what condition it is in, and whether anyone else has a claim on any of it. A conversation, not a form.
- 02
We audit the chain of title
This is where most of the work sits and where most tranches fail. We read the underlying agreements, trace contributors and performers, and identify what has to come out.
- 03
We put an instrument in front of you
A licence naming AI and machine-learning training in the grant, permitting onward sublicensing, stating your fee or revenue share, and leaving title with you.
- 04
We digitise, clean and annotate
At our cost, to one technical standard, with every transformation logged. You get a copy of the prepared set as well — most holders have never had their own archive normalised.
- 05
It enters the catalogue and earns
Non-exclusive by default. You are paid as agreed in the instrument, and you can see which tranches shipped and to what category of buyer.
Where we say no
Material whose chain of title cannot be reconstructed per asset. Anything reaching us through an intermediary rather than the holder. Personal or financial data that has not been de-identified under its institution's supervision. Third-party music, licensed insert footage and unreleased performers. We say no early and in writing, because a tranche we cannot warrant is a liability travelling downstream with a buyer's name on it.
Tell us what is on the shelf.
It costs nothing to find out whether it can be cleared, and a written no in week two is worth more to you than an enthusiastic maybe in month six.